Shopping bags and parcel tape: Rosemary Waugh reviews Rufus Norris’s after-the-war Shakespeare.
Farewell, puritanism: Rosemary Waugh reviews the stage adaptation of Ingmar Bergman’s famous film.
Pilgrimage and existential doubt: Amelia Forsbrook reviews Vakhtangov State Academic Theatre of Russia at the Barbican
Mother and lover: Amelia Forsbrook reviews the new stage adaptation of Colin Higgins’ cult classic film
Vanishing acts: Lee Anderson reviews the stage adaptation of Joan Lindsay’s cult novel
Feeling blue: Rosemary Waugh reviews the premiere of Dennis Kelly’s one-woman play.
Love and land: Rosemary Waugh reviews Peter Gill’s painfully realistic picture of a relationship
Reset and start again: Hailey Bachrach reviews the premiere of Stephanie Jacob’s family comedy
Full of teenage melodrama: Ed Nightingale reviews the shortened version of Alan Ayckbourn’s dystopian epic (and it’s still a disappointment).
Closures, consolidation, and restructuring: Dave Fargnoli reviews a re-fashioning of John Dryden’s Aureng-zebe.
Hail Hytner! Nick’s immersive Shakespeare overcomes its own innate lameness triumphantly.
Rosemary Waugh reviews the premiere of Simon Longman’s brutal, bloody and foreboding rural play.
Heart-ache: Miriam Gillinson reviews the West End transfer of Richard Eyre’s production of Eugene O’Neill.
Absurdity in the commonplace: Ka Bradley reviews the Jakop Ahlbom Company, as part of London Mime Festive 2018
This is sounding like a history lesson: Rob Icke’s Almeida production offers contemporary parallels galore.